Ocupación artística Ouvidor 63: Arte y vida más allá de la norma (original) (raw)
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Cadernos Brasileiros de Terapia Ocupacional, 2018
The population that finds on the streets an alternative for their own survival and for sorting out their identities, is marked by a number of disruptions and violation of rights, resulting in vulnerability processes and social disaffiliation, given the current socioeconomic conditions and the neoliberal rationality. There is a need of innovative work that can add different sectors and knowledge, which defend the strengthening of a support network and services that aims the enfranchisement of the individuals, promote social participation and respect their diversity. Therefore, it is reported the experience of an extension project that promoted creative strategies to operate with the homeless from an arts and culture perspective. In order to do so, the weekly activities workshops promoted experimentations for the participants, aiming to express their potentialities, from the themes and requests relevant to the group, producing art, dynamics, and products that reflected the culture of the streets. Sensitive displacements were produced, noticeable to those involved, making the participants protagonists of their own expressions. The encounters took on creative proportions and composed new experiences of occupational therapeutic formation and practices in the social field. In defense of respect, appreciation of the human dimensions and capacities, especially of the groups in a vulnerable situation, associated with actions that aim to promote and extend their human and social rights.
Conjunto Habitacional: O que Faz a Boa Habitação Social?
Studio-X Rio, 2017
The challenge of producing social housing seems like a losing battle. The housing complexes, which during the first half of the twentieth century were the response of architects and urban planners to this challenge, became discredited. Meanwhile, in an increasingly urban and unequal world, the number of people living in precarious conditions is growing, which demands more complex and diverse approaches that include state production. In Brazil, the federal program Minha Casa Minha Vida, created to combat the effects of the economic crisis of 2008, presents superlative numbers in unit delivery, but mediocre results from the point of view of the quality of the architecture and its urban insertion. Given this critical scenario, what happened to the project in government housing production? How have architects been engaged in this subject? What have they produced? This exhibition investigates the state architecture from the question "what makes a good social housing?". It is not intended to bring conclusive answers, but to present facts and visions about the housing project today. Starting from Pedregulho, an emblematic ensemble conceived by Carmen Portinho and Affonso Eduardo Reidy in the 1940s, the exhibition presents other three contemporary cases: Jardim Edite, Parque Novo Santo Amaro V and Residencial Juliano Moreira. Through contributions from architects, residents and academics, the show presents perspectives on designing and experiencing housing developments.
Studies in Visual Arts and Communication: an international journal , 2015
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Risco: Revista de Pesquisa em Arquitetura e Urbanismo (Online), 2007
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AESOP, 2017
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Revista Pivô, 2019
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2020
The prestige of street art as an artistic expression has increased year after year. The analysis of its legal implications must take into account the difficulties in reaching a general operative concept of street art and the need to legally frame the creation, preservation and transaction of street art productions. Since the legal concept is not equivalent to the theoretical concept or the history of art, each State and even each municipality can create their own legal concepts, acting in accordance with these specific concepts in order to control production, to punish execution as vandalism or, in contrast, to protect works produced as part of their cultural heritage. Although street art is created in and for open spaces, usually as an ephemeral art, the commercial interest in street art productions raises questions of due diligence during its transaction, such as those related to ownership, authenticity and even provenance. As an expression of an artistic movement started about half a century ago, can street art works be equated with “traditional” works of art (such as “goods” or “merchandises”), being subject to ownership, commercial sale and copyright, or must they be appreciated as artifacts that can be preserved as part of the cultural heritage or, alternatively, starting from the specific artistic and creative intent of the artist, be understood as a type of works of art that require the creation of new legal categories and forms of understanding its meaning?
Animação, espaço público e gentrificação. A imagem animada como forma de resistência
COMbART, arte ativismo e cidadania, 2023
Este texto, "Animação, espaço público e gentrificação - a imagem animada como forma de resistência", está incluído no livro COMbART, sobre Arte, Ativismo e Cidadania, que inclui as apresentações feitas na conferência com o mesmo nome, organizada pelos sociólogos Paula Guerra e Ricardo Campos. Abstract: No passado recente, muitas cidades europeias, e o Porto e Lisboa em particular, sofreram uma transformação rápida e dramática, com os seus centros urbanos a passarem de lugares iminentemente sociais a objetos de exploração económica extrema: o aumento dos hotéis e das plataformas de aluguer online afastou os habitantes originais, e os movimentos sociais orgânicos foram substituídos pelos fluxos transitórios dos visitantes de curta duração. Esta implosão do espaço público e social contemporâneo promove os centros urbanos como citações de história ausente. Como Augué sugere, esta remodelação de lugares que costumávamos conhecer como culturalmente identitários, torna-os "lugares de memória", em que os moradores mais velhos e resistentes se tornam "espectadores de si próprios" (Augé, 2000, Non places: 56). Dando corpo a mundos fantásticos e realidades visualmente irresistíveis, o cinema de animação é entendido pelo grande público como forma de entretenimento por excelência, permitindo a ilusão de um espaço de fuga, alternativo ao que habitamos. Mas, neste contexto, será abordado o potencial da imagem animada como forma de resistência à diluição dos centros urbanos: refletindo sobre o que o arquiteto Norberg-Schulz chama de Genius Loci, o espírito do lugar, e questionando noções contrastantes de identidade, pertença e interesses comerciais, para evocar a essência social do(s) espaço(s) que habitamos. Trazendo a pergunta de Hantelmann, sobre como pode a arte "tornar-se politica ou socialmente significativa" (Hantelmann, 2017, How to do things with art: 9), para um contexto de animação, esta apresentação refere workshops e curtas-metragens para propor uma prática da imagem animada que vai além de um papel decorativo, cumprindo uma função analítica e social(mente reflexiva) sobre a ocupação do espaço público e a(s) sua(s) dinâmica(s).
The public art : conceptual problem (A arte pública : problemática concetual)
"Urban Creativity", 2014
ABSTRACT : There are many different meanings and interpretations of the concept of "public art", which lend themselves to great ambiguity, and that we analyzed here. Alternatively, other names have been proposed, which also we reviewed here, and that we believe are also ambiguous. The main contestation to the concept of public art consists of the statement that all art is public, so there isn’t sense to talk about public art. The main reason of the dispute is the confusion between fact judgment and value judgment. Given that with the concept of public art we make a fact judgment, according to which public art is the art placed in the public space, so only some art may be regarded as public. Key-Words : Art, public space, ambiguity, fact judgment, value judgment RESUMO : Existem diversos significados e interpretações do conceito de "arte pública", que conduzem a grandes ambiguidades, e que aqui analisamos. Como alternativa, têm sido propostas outras designações, que também aqui analisamos, e que consideramos que são também ambíguas. A principal contestação ao conceito de arte pública, aqui analisada, consiste na afirmação segundo a qual toda arte é pública, daí não ter sentido falar em arte pública. O motivo fundamental da contestação está no facto de se fazer uma confusão entre juízo de facto e juízo de valor. Dado que com o conceito de arte pública fazemos um juízo de facto, segundo o qual a arte pública é aquela que se encontra colocada no espaço público (no significado urbano deste conceito), então apenas alguma arte pode ser considerada como pública. Palavras-chave : Arte, espaço público, ambiguidade, juízo de facto, juízo de valor